Colby Pines

Hailing from 'The Good Life City' of Albany, Georgia, Colby Pines is the middle child of five boys. While his family is primarily comprised of men, the Pines family did have a female dog once... unfortunately she died... God bless his poor mother. When Mr. Pines was in third grade the doctors discovered that he had an extra bone in his knee. The bone did not possess any magical powers or help Colby run faster/jump higher, so the doctors surgically removed the bone and refused to let Colby keep it as a souvenir. Colby recently graduated from the University of Georgia with a Bachelor's degree in English and a Master's degree in having cool friends and wearing great sweaters. Colby studied abroad at Oxford University's Trinity College where he was able to visit three of the four coasts, but was not able to bring back a baby with a British accent. Colby enjoys going to the movies, scotch, traveling, playing folk music with his band, BirdHead, eating good and bad food, writing, dabbling, playing Fantasy Football with his Pigskinz and Sundee Beerz League, reading a great book, and all sorts of music. While Colby has a bit of a bipolar taste in music, some of his favorite bands include: Band of Horses, Death Cab for Cutie, 2pac, Washed Out, Johnny Cash, Childish Gambino, Local Natives, The Beatles, Danny Brown, and Beach House. Colby is currently single and quite possibly ready to mingle. Colby has broken five bones, saved two children from drowning, been to Canada twice, and almost fallen into The Grand Canyon once. While he tends to miss things like Breaking Bad, eighth grade, Hey Arnold!, and Surge soda, Colby's excited for the future where he hopes to continue writing and doing the things that he loves.

JR JR and the Teragram Ballroom

Posted on by Colby Pines

jrjr

“I bet those blink,” my lady-friend and I muttered to one another, pointing at the giant JR JR letters that provided the backdrop to an otherwise barren stage. This was just the second in a string of underestimations about the Detroit-hailing, genre-defying (Dale Earnhardt) JR JR. My first misconception came long before I arrived at the Teragram Ballroom that night.

About a month before the show I learned that Josh Epstein and Daniel Zott, the talented team that comprises Dale Earnhardt Jr Jr, were trimming the bearded racecar driver from their name in favor of the shorter, simpler moniker, JR JR. Initially, I was worried that the name change signified a shift from their Indie roots to a more mainstream, marketable bubblegum pop. I don’t know why I was so worried about a name change. Maybe it was because I, like many others, was drawn first to the name before being moved by the music.

I set out to do some research on the name change… and when I say research I mean a light, leisurely Google browse. I found that the band penned a letter in regards to the name change and posted it on their official website. In the note, they talk about why they chose the name in the first place:

“Band names are a weird thing to begin with, but we figured if we named our band Dale Earnhardt Jr Jr there would be no expectations for what we were meant to sound like. Something that bizarre would just have to be listened to and judged without preconception.”

This is exactly what drew me to JR JR. How could I not check out a band named after this guy… But it turns out that their plan worked a little too well. Their music gained well-deserved recognition and as their audience expanded, so too did the confusion revolving around their name:

“We’ve had people drive long distances to shows only to be disappointed when they realize it’s a neurotic Jew and a wild-haired gentile from Detroit they’ve paid to see. A number of times now we’ve received hope-filled inquiries from people who have dying relatives that only want to meet Dale Earnhardt Jr. (the driver) before they pass. Those sorts of interactions feel a little voyeuristic and eerie, and even attempting to simply clarify the situation means you’ve added a moment of embarrassment to someone’s day when they’re already going through a lot.”

Touché, JR JR… one way to shut up a guy who questions your name-changing intentions is to hit him with the most logical, sensitive explanation imaginable. Another way is to put out a catchy, endearing album that manages to build upon past projects… and that’s just what they did with the newly self-titled album, JR JR.

In a lot of ways, the new album is tied to time. Sure, this might seem obvious considering the first track is called “As Time Goes,” but the entire project deals with time spent, time wasted, and time wanted. Songs like “Gone” deal with the past and creeping nostalgia. In “Philip the Engineer” JR JR use a dystopian story arch in order to convey the idea that “time makes grown ups out of kids.” And then there’s the personal favorite, “James Dean,” which manages to capture catchiness while conceding that “I’m not dumb, but I’ve wasted time.”

In fact, every single track on this album (and their albums of old) somehow manages to remain incredibly catchy while dealing with meaningful things like the idea of time. It’s weird to find yourself swaying and singing along to a song about divorce (“A Haunting”), but it’s also refreshing. JR JR take heavy thoughts and emotions and balance those feelings with catchy choruses in order to capture specific moments in time. Everything they’ve done feels like an honest pursuit of artistic and emotional expression. I think that’s one of the reasons why JR JR has not only found success, but also been able to create catchy, enduring songs. It’s their honesty…

Which brings me back to the Teragram Ballroom on October 10th. Fair warning: I’ve loved JR JR since I first heard them a couple years back, but I really didn’t know what to expect from their live show outside of some inevitably amazing whistling. Needless to say, I wasn’t disappointed.

First off, I’d be a buffoon (I knew I’d be able to sneak the word ‘buffoon’ into something someday) not to mention Hippo Campus, who opened for JR JR. Their set was strong and they looked like they were having more fun than everyone. What do you do when you want an encore from the opener? Well, you write about the concert and hope that said opener sees said article and agrees to get drunk with you someday.

As the Teragram Ballroom pulsed with Hippo Campus’ energy, I noticed how much it reminded me of 40 Watt Club in Athens. Before the Athenian nostalgia set in too hard those JR JR letter lights started doing far more than “blinking,” as Josh, Daniel, and the band took to the stage, opening with “As Time Goes.” I was blown away by both the sound quality and the light show. I mean I really can’t express how much I underestimated those damn letter lights.

JR JR weaved their way through new material as well as old. They had the whole room dancing during songs and laughing in between. At some point after their cover of Madonna’s “Like a Virgin” but before they highlighted the different Detroits (Kid Rock, Insane Clown Posse, Eminem, and them), I realized that JR JR is able to do what they do not solely because they’re talented, but because they’re honest and passionate. It’s who they are, and it shows on stage as well as on their albums.

Not to get too “Hallmark-y” here, but it’s pretty rare to find a band that creates catchy songs that actually say something of worth. Don’t get me wrong, bubblegum pop has its place, but I’ll forever prefer the sweet, soulful sounds of JR JR. After a brief exit from the stage, JR JR answered the crowd’s calls for an encore. They returned wearing these incredible jackets. As they ended the night with “Nothing But Our Love,” it was clear that that’s exactly what they had from the tightly packed audience at the Teragram Ballroom.

Sledding With Tigers: ‘A Necessary Bummer’

Posted on by Colby Pines

“Not folk enough for folk and not punk enough for punk.” These are the words we’ve seen used to describe Sledding With Tigers, who just released a new album at a name-your-own-price rate on their website. Despite finding themselves in genre limbo, the band’s latest offering, A Necessary Bummer, manages to capture the honesty that makes both punk and folk such appealing genres. The ten-track debut album is a declaration, an admission, a confession and an apology told through the eyes of lead singer and songwriter, Dan Faughnder. If you like Family of the Year, You Won’t or just an honest offering from some dudes in San Diego, then this one’s for you.

As melodic violin solos organically join with the band’s banjo-plucking compositions, Faughnder (un)apologetically lays his heart out for all to see. Whether they’re tackling physical insecurities, wrestling with seemingly unjustified sadness or pondering bleak loneliness, Sledding With Tigers always seems to approach each song from a place of honesty. Sometimes that honesty means admitting that they’re not being completely honest. It’s as complicated as melancholia. The band puts it best when they collectively announce that they “hate this feeling but [they] don’t hate that [they’re] feeling it.” So many feels. All the feels.

Despite it’s honest lyrics and serious subject matter, the acoustic-driven album doesn’t take itself too seriously. One look at the album’s track titles makes it clear that these guys are good for a laugh or two. From “The Devil and a California Burrito are Raging Inside Me,” (an irreverently funny nod to the band Brand New) all the way to “I Got The Blues Macaroni And Cheese” (Kraft, homie) the band captures the very essence of life. It’s funny, sad, hard and impossibly confusing at times.

Each folky track gets its share of Faughnder’s punkish vocals and the band’s honest lyrics. Tracks like “Oh, Right. Damn It.” make this album both admirable and endearing. By discussing the trivial things in life that seem to (for me, at least) evoke some of the heaviest, hardest emotions and thoughts, A Necessary Bummer asks the hardest questions and poses possible, hopeful answers. It’s hard not to take something away from this album. Whether that something is a solid laugh at the witty track titles, a few finger snapping and toe tapping moments or a reflective moment to consider “what the hell is okay,” one thing is certain… this album is certainly safer and probably better for you than actually sledding with tigers.

3.5/5

Girl Talk & Freeway: ‘Broken Ankles’

Posted on by Colby Pines

Girl Talk recently teamed up with former Roc-A-Fella MC Freeway to release the Broken Ankles EP. The project was released free on DatPiff, and I was so hype to get to write my first review on a hip-hop project. I looked up to 2Pac, Biggie, Eazy-E, and the remaining Rap Gods, but they stared down from Thugz Mansion and didn’t see fit to have me review something as dope as Freeway’s earliest releases.

If you don’t remember, Freeway first burst onto the hip-hop scene with a featured verse on “1-900-Hustler” from Jay-Z’s monumental album The Dynasty. Since parting ways with Roc-A-Fella in 2007, Freeway’s work has been largely directionless. While Broken Ankles isn’t completely uninspired, it still finds Freezer an MC with nothing new to say.

The boisterous, in-your-face intro sets the hyped up tone of the album, but I kept wondering when Girl Talk was going to do Girl Talk. The answer is never. If you’re expecting souped-up pop samples for Freeway to spit on, then you’d be just as disenchanted as I was when the only recognizable sample is a single Notorious B.I.G. line used to comprise the hook on “I Can Hear Sweat.” Freeway juxtaposes the Biggie hook by trying to tap into 2Pac when he announces, “all eyes on me, all eyes on me.” Freeway concludes his attempted legendary East Coast/West Coast marriage by surmising that he thinks “they love me like Pac now.” While the historical hip-hop nod is nice, it just seems to be missing a point; much like the entire project.

This isn’t to say that the EP is a total failure. Whenever Girl Talk takes a back seat and allows Freeway to drive, hints of the old MC appear in soulful songs like “Tell Me Yeah.” The EP also has some great guest verses. Waka Flocka Flame makes the first track, “Tolerated,” tolerable, and Jadakiss was born to rhyme over “I Can Hear Sweat.” Unfortunately for Freeway, he raps in the shadow of his featured verses for the majority of the EP. He spits recycled similes and tired lines like: “Betty Crocker, got my cake up” and “I learned lessons went to summer school.” Baseless rhymes like this combined with the hit-and-miss beats make the EP perfect for a mindless jog or background music at a pregame everyone just left.

The EP is currently sporting a 4/5 rating on DatPiff (so hey, what do I know, right?), but the majority of the commenters agreed with me as we reminisced on the Freeway who proved he had honest, inspired flow and something to say in the early 2000s. If Girl Talk had simply done what Girl Talk has done in the past, then it would’ve allowed Freeway to spit over some sweet samples. I mean, that seems way more hip-hop than what Broken Ankles actually winds up being. Unfortunately, even if that were the way the record was spun, I’m still not sure Freezer has any new stories to tell.

2.5/5

 

GIRL TALK TOUR DATES:

Fri. April 11 – Indio, CA @ Coachella Valley Music & Arts Festival

Fri. April 18 – Indio, CA @ Coachella Valley Music & Arts Festival

Sun. May 4 – Tampa, FL @ Big Guava Festival

Thu. May 15 – Gulf Shores, AL @ Hangout Music Festival

Sat. May 17 – Atlanta, GA @ Centennial Olympic Park

Fri. May 23 – Sun. May 25 – Chillicothe, IL @ Summercamp

Fri. June 20 – Dover, DE @ Firefly Music Festival

Wed. June 25 – Sun. June 29 – Milwaukee, WI @ Summerfest

Shaky Knees Founder Tim Sweetwood x Vinyl Mag

Posted on by Colby Pines

For the second year in a row thousands of rock & roll fans will flock to the heart of Atlanta for the Shaky Knees Festival. The weekend-long musical extravaganza kicks off Friday, May 9th and features plenty of must-see musicians. The anatomically unstable festival is not without its changes though. 2014 brings with it a new location and a new lineup. Coming off an extraordinary first year that featured performances from Band of Horses, Delta Spirit, and Drive-By Truckers, it was hard to imagine how the festival could improve upon itself. For Shaky Knees Festival founder Tim Sweetwood, the answers were easy: more bands, a bigger venue, and reasonably priced tickets. Recently, we got the chance to speak with the festival’s founder about this year’s lineup, the festival’s change of scenery, and whether or not he sold his soul to the Rock & Roll Devil.

Vinyl Mag: What initially inspired you to found Shaky Knees?

Tim Sweetwood: I’ve always wanted to produce a festival – they are my favorite kind of events to attend, and I just waited til the time was right.

VM: What do you feel that Shaky Knees offers that some of the other Atlanta music festivals might not?

TS: Real indie music and a chance to discover something new. The lineup is built on having bands you know and haven’t seen in a while but have always loved, and then newcomers in the same genre that will be the next “it” band, and you can see them before anyone else does.

VM: This year the festival is changing locations. How do you feel about the move from the Masquerade Music Park to Atlantic Station?

TS: We feel great. The festival is growing in size naturally, and the Music Park/Old 4th Ward park couldn’t hold what we wanted to do, and we are not big enough for Piedmont Park or something like that.  Atlantic Station is very accessible, and still inside the city limits.

VM: What do you feel the biggest improvement will be from last year to this year’s festival?

TS: The chance to see more bands or a ticket price that is close to the lowest price of all the similar national festivals.

VM: How has Shaky Knees managed to deliver such impressive performers in its first two years? Did you sell your soul to the Rock ‘n’ Roll Devil?

TS: Yes, we are on the Highway to Hell. I’ll introduce you to him soon.

VM: Shaky Knees is only in its second year, but already it feels like a mainstay amongst the festivals. Do you feel like your initial expectations have already been met and exceeded?

TS: We have met many of our goals, but there are still many to achieve, and we hope by setting the bar so high with the lineup that from year to year it will keep people coming back and wanting more.

VM: I know that you’ve said you aren’t trying to create the next Bonnaroo, but do you see growth in the festival’s future in terms of number of acts, stages, and attendees?

TS: Yes, we know there will be growth, and although there is tremendous excitement and positive pressure, we don’t want to get too big too quick.

VM: Do you have any specific performers that you are most excited about this year?

TS: Honestly, excited to see them all – that is the joy of booking your own festival. I put on the acts that I truly love and I’m a fan of. We don’t just put anyone on there.

VM: What’s your most memorable festival moment, whether at Shaky Knees or another festival?

TS: Keeping that one to myself, but we truly hope people will have some of their favorite festival experiences at this year’s fest and for years to come.

VM: What advice do you have for Shaky Knees festival-goers?

TS: Get there early and stay late!!

VM: Since Shaky Knees is a Rock ‘n’ Roll fan’s dream come true, can you give us your top three rock bands of all time?

TS: It is really really hard to narrow it down to three, but I’ll throw three out there in no particular order….My Morning Jacket, Tom Petty & The Heartbreakers, and Buddy Holly.

HOLYCHILD x Vinyl Mag

Posted on by Colby Pines

There might not be a more fun genre than indie-pop. If you don’t believe me, then give HOLYCHILD a listen. With the uncanny ability to create catchy tracks with depth, it’s no surprise that the band has gained quite a following. After earning early success for their song “Happy With Me,” the LA-based duo recently signed with Glassnote Records and dropped an impressive debut project accompanied by a short film. HOLYCHILD is comprised of lead singer Liz Nistico’s sugary, poignant vocals and Louie Diller’s punchy, melodic, and always-catchy musical compositions. I recently got the chance to get with HOLYCHILD about their debut EP, their favorite dessert foods, and a slew of other sweet subjects…

Vinyl Mag: So, your first EP, Mindspeak, just dropped in March. Do you feel like there’s an overarching theme for the project?

Liz Nistico: Hey! Yeah, the EP just came out! The overarching theme is pretty much centering around me exploring my role as a female in our culture. However, to me it’s even more than that, and really commentary on who we all are, versus who we’re told we’re supposed to be, in relation to our culture and other humans.

VM: I saw that you also released a short film with the EP. What was it like to make that, and why did you feel like you wanted to pair the project with a short film?

Liz: I really wanted the message of the EP to be clear, and I thought that accompanying visuals would really enforce that. I also am a very visual person, so I didn’t really feel the art would be complete without it. I was so grateful to be able to write and direct my own videos, especially because it was my first time really directing! It was nice to be in control of all aspects of the film, from what styles the girls are wearing to what the location looks like to exactly how the actors are interacting. It’s really nice doing HOLYCHILD, because it really is all-encompassing artistic expression!

VM: What was your writing process like for Mindspeak?

Louie Diller: For Mindspeak, Liz and I wrote all the melodies and harmony together, but Liz was responsible for roughly 80 percent of the lyrics, whereas I was responsible for 80 percent of the music production. Our writing process, however, for each song tends to vary. Sometimes, I have a melody floating around in my head; other times, Liz will write using her vocal loop station, and we’ll go from there, and actually for a few songs on our album, Liz has woken up from a dream with songs fully fleshed out!

VM: A whole lot of sweets in the video, and you used a doughnut for the Mindspeak cover art. If you could only have one dessert for the rest of your life, what would it be?

Liz: Ha! I think cheesecake for me.

Louie: Hot fudge chocolate brownie with vanilla ice cream on top!

VM: How does it feel to be signed to the same label [Glassnote Records] as artists such as CHVRCHES, Childish Gambino, The Temper Trap and Two Door Cinema Club just to name a few?

Louie: Right on – lest not we forget Phoenix, Mumford and Sons, Givers and a handful of other really inspiring artists! Money, hype and buzz aside, creatively it has been very validating to sign with such a reputable label like Glassnote and to now have all these amazingly privileged opportunities handed to us. After some years of the starving artist struggle, it is a privilege to to not only eat a little bit better, but more importantly, execute our vision on a level we have always dreamed of reaching.

VM: You guys, CHVRCHES and GIVERS are the only bands on the label that use all capital letters in your name. Do you guys get together and make fun of the non-caps nerds?

Liz: Haha, yeah obviously, all-caps fo life. Nah, just kidding, we’re pretty nerdy into all of the other Glassnote bands. I think Louie expressed this, too, but when we get together with the other bands, we’re pretty much like, geeking out on their songs, and live shows, and aesthetics. We’re big fans!

VM: I read that you met each other in a dance class at George Washington University. What did each of you study?

Liz: Yeah! I studied International Affairs, Italian Literature and Dance (mostly modern). I know I’m not directly employed in these careers, but I do feel like I’ve taken all this knowledge and applied it to what I’m doing now.

Louie: I studied International Affairs and Jazz Studies. Obviously, I am not doing the former professionally, but a secret ulterior motive Liz and I have had for pursuing HOLYCHILD is to use it as a vehicle to travel the world!  Hehe, don’t tell anyone!

VM: You [had a show] on April 5th back in DC. [Did] it feel like a homecoming of sorts? 

Louie: It did feel that way! But we were not there long enough! DC has always treated us really well, and we are fortunate to basically have a home away from home in DC.

VM: What are you currently listening to?

Liz: So much. I’m pretty into Sylvain Esso, Tune-Yards, Loch Lomond, Sam Smith. I am just starting to really to get into Sufjian Stevens which, WTF – why is this just now happening?!

Louie: St. Vincent, Andrew Bird, Battles, OutKast, Thelonoius Monk (always), and more.

VM: Who are some of your musical influences?

Louie: Our musical influences include everybody from Fiona Apple, to Dirty Projectors, to Katy Perry, No Doubt, Afro-Cuban Guaganco, and many more.

VM: If you weren’t making music, what do you think you’d be doing?

Liz: I would definitely be making art in some way. I don’t know if it would be writing or dancing or making visual art, but I know myself well enough at this point to have realized that I fall apart when I’m not making art.

VM: I read that you guys used to make five-month plans and goals for the band. Do you still do that, and if so, what are you planning next for HOLYCHILD?

Liz: Yes! Haha, yeah we’re definitely systematic and still really organized with our approach to how we release things and why. That’s probably the biggest takeaway we have from GW [George Washington University]! The one thing that’s changed now is we have a team behind us, and our five-month plans have turned into 12-18 month plans. Things are just much more certain now (kind of)! So coming up for us, we’re mostly going to be touring for the rest of the year! We just dropped our EP, Mindspeak, and our album with be out in the fall.

Challenger: ‘Back to Bellevue’

Posted on by Colby Pines

Challenger, the electro-indie band from New York City, plans to drop their second full-length album on May 27th. Led by producer/songwriter John Ross, Challenger debuted their first LP, The World Is Too Much for Me, in 2012. Their sophomore effort is titled Back to Bellevue and features eleven epic pop tracks rooted in indie electronica. Ross left the hustle and bustle of Brooklyn and returned to his childhood room in Florida to write and record the album.

DISCLAIMER: I’m a huge fan of electro-indie music. My friends and I have a collaborative Spotify playlist called Electropolis. It’s filled with hits from bands like Washed Out, Purity Ring, Small Black, and Summer Heart, and we’re pretty selective about what makes the cut. If you don’t dig the smooth sounds of a cinematic synthesizer, then, first of all, what’s wrong with you? And, second, read no further, because liking Challenger’s Back to Bellevue was just way too easy for me.

Driven by bright synth leads and punchy, robust percussion compositions, Challenger’s latest offering separates itself from the crowded electro-indie genre by lacing its tracks with honest, fragile vocals that aren’t buried in reverb. While this album reminded me of bands like Summer Heart and Washed Out, the raw and delicate vocals held hints of Conor Oberst of Bright Eyes. Think Small Black but with more rough edges. This combination of clear, raw vocals and catchy synth leads works best on tracks like “How Terrorism Brought Us Back Together” and “Sweetheart in San Francisco.”

Ross’s experience as a composer for television is apparent in the album’s cinematic synth pop sounds. Several of the songs seem suited for the screen. I could see a car driving further and further away as the sun sets or a couple sharing their final kiss before we fade to black as each track on Back to Bellevue flows into the next. But Ross doesn’t stop at simply crafting cinematic songs. Challenger shows their diversity with songs like “Sylvia,” which provides a hauntingly beautiful juxtaposition to the brighter melodies. With “I Want You To Love Me,” Challenger strips away the intricate drums and synthesizers in favor of an acoustic ballad that echoes back to the happy holiday declarations found early in the album on “Birthday At Beth Israel.”

While I thoroughly enjoyed the album and admired its bold, different vocal approach, I have to admit that the raw vocals seemed out of place on the song “Sorry,” which is arguably the most beautiful track in terms of musical composition. Then again, even when the chosen vocal style seems out of place, it still sounds incredibly honest and makes the music more endearing. Challenger’s latest album is an undeniable success for any fan of electro-indie. Rest assured that several of the songs from Back to Bellevue will find a home in Electropolis come May 27th.

4/5

Juan Wauters x Vinyl Mag

Posted on by Colby Pines

As one half of The Beets, Juan Wauters gave us laid back garage rock that garnered the band comparisons to The Ramones. Juan Wauters is legit. Eager for a new musical endeavor, in 2012 Juan set out to write and record a solo album. The result is 2014’s N.A.P. North American Poetry. With a gentler folk feel, Juan’s solo album takes a step away from The Beets’ garage rock reputation in order to delve into the melancholy moments of everyday life. Juan recently took some time out of his day to talk with me about the new album, his experiences at SXSW, and to school me on the Existential side of Tango music.

Vinyl Mag: So how’s it going?

Juan Wauters: Pretty good. I’m actually in Boston right now. Someone that I know is getting married, so I came to the party.

VM: Nice. Weddings are the best.

JW: Yeah. I’m looking forward to it. Should be fun. And then after this weekend I go on tour.

VM: What’s your favorite part about going on tour?

JW: Oh, man. There are a lot of things, but I love meeting people that I don’t know. I love to hang out with new people. I always try to look for interesting characters when I’m on the road. People that I wouldn’t see in New York or in my normal day to day. I just enjoy making new friends and seeing how different people live.

VM: What’s the farthest a tour has taken you?

JW: I’ve played all across the U.S. One time we were supposed to play in Mexico, but the show got cancelled. I’ve played in Europe and in Israel, but those were both sort of random solo shows, so they weren’t really for a tour.

VM: So will this upcoming tour be the first time that you’ve toured solo?

JW: Yeah. I mean, last year I did it a little bit. This solo album is something that developed during my time with The Beets. In 2012 The Beets didn’t really play a lot of shows because we were having some problems and trying to figure out how to take it to the next level. So last year I did a little bit of my own stuff and a little bit with The Beets. So, I’ve done some touring, but just a little bit here and there. I just got back from Austin, Texas though.

VM: You played at SXSW, right? How was that?

JW: It was great! When we first started with The Beets we just took everything as it came to us rather than putting a lot of thought into it, so when we played at SXSW for the first time in 2009 we were still learning to play together. It was pretty wild those two years that we went there but it wasn’t really that fun. It was more stressful and intimidating. I left with a bad taste in my mouth those times, but this year it went really smoothly. I went with a different attitude this time and it was really fun. It was just me on the guitar, so I was able to change the show up and it was more laid back. It was cool, because we gathered quite a little following.

VM: Do you feel like that sort of freedom is the biggest difference in making music by yourself as opposed to working with The Beets?

JW: I guess so. Yeah, that’s something that I look for in music. I always want to have a freedom in music or in any art form. Freedom gives me the opportunity to explain the moment. It’s just a different experience. Playing with a band is always fun too, but going on tour with a band is tough. People can get moody and it can get really tense and affect the whole thing. When it’s just me I can decide what I want to do and how I want to do it and not have anyone rock the boat.

VM: So the new album is called, N.A.P. North American Poetry. Are you big into poetry?

JW: Nah, honestly I’ve always kind of steered clear of poetry. I mean, I love words and I enjoy the feelings they can evoke, but sometimes the title of poetry can make something uptight and less accessible. I enjoy poetry, but I enjoy the poetry of the street. Anybody talking can be poetry. I mainly named the album that because I wanted an acronym for the word nap.

VM: The album has a really 60s sound to it. What type of music did you listen to growing up?

JW: Definitely. I love The Beatles and Ramones. I just wanted it to have a festive vibe. I grew up listening to the classical guitar and my father listened to Tango music. You know, Tango music is almost a way of being similar to Rock & Roll. It’s like a lifestyle. Tango talks a lot about that enjoyable sadness in being alive. It’s really melancholy. Like, I’m trapped in this life and I have to deal with a lot of bullshit everyday, but I’m so happy to be alive.

VM: I didn’t realize Tango was so melancholy and existential…

JW: Oh, yeah! It’s a lot about the feeling of enlightenment and realizing that there is sadness in all of life, even the good things. It’s about embracing the questions of life. Tango is great. A lot of songs about everyday situations like hanging with friends, family, about gambling on horses and losing all your money. Everyday things…

VM: So if you could only listen to one album for the rest of eternity would it be Tango?

JW: For me? That’s a tough question. Maybe something by Ramones or The Beatles. I don’t know though, because I feel like one album is going to drive me crazy no matter what it is. Maybe Revolver or Ramones. I’m just trying to think which album will make me the least insane. Maybe John Cage’s 4’33”. Just silence. That’s what I’d choose.

VM: If you weren’t playing music what would you be doing?

JW: Driving around. Haha I don’t know. Music is always something I’ve had in my life. Until 2012 I never really tried to see music as an income. I always had a lot of different jobs. But since 2012 I’ve decided to focus all of my attention on music. So, I don’t know. I studied math in school. I like to paint. It would have to be something that keeps me meeting new people and moving around. Maybe a UPS deliveryman? Yeah. That’s it!

N.A.P. North American Poetry is out now, so be sure to snag a copy and give it a listen. Be on the lookout for Juan’s tour coming to a city near you!

Kristin Hoffmann: ‘New Directions’ EP

Posted on by Colby Pines

Kristin Hoffmann recently released a follow-up EP to her full album, The Human Compass. The EP, New Directions, is comprised of three remixes to songs from the previous album. While the EP attempts to transform her ethereal Renaissance pop songs into something more electronic, it fails to realize the true purpose of a remix, which is to take an old song and shed new light/offer a different perspective by adding and subtracting certain qualities.

The original album has some undeniably beautiful piano melodies. Add Hoffmann’s distant, ethereal vocals and you’ve got a catchy pop tune, right? Unfortunately not. One of the qualities that the original album lacks is the presence of a single catchy hook or pop-ish melody. While melody is certainly important in any remix, it often does not have to drive the track like it does in most pop songs. With this in mind, I was hopeful that the three remixes could offer something that the original album did not.

With the exception of the “Ghosts” remix, New Direction doesn’t do much for the original tracks. While the songs do manage to maintain their prettiness, there isn’t much there electronically. I kept wondering when the track was going to “hit,” and then the song ended. For me, the piano and the vocals only carried the tracks for so long until I started drawing comparisons to Evanescence minus the crunchy guitars.

I do feel as though New Directions more successfully captures Hoffmann’s ideas and the original album’s ethereal goals, but it is unfortunate that the EP lack the sort of electronic punch that remixes need to be cool remixes that are worth a listen. Hoffmann sings about “a distant lullaby” in “Ghosts,” and that seems to be what this endeavor is: A distant lullaby that is too far away to serenade us to sleep, but just enough to keep us awake, like the ticking of a fan or the dripping of a faucet.

The Lovers Key: ‘Here Today Gone Tomorrow’

Posted on by Colby Pines

I have three Spotify playlists that I feel like I can listen to no matter my mood. The first is a bipolar irrelevance made up of a hodgepodge of genres. The second is dedicated to the soulful sounds of Motown, and the third is filled with 60s rock (minus The Beatles, whose music is “Spotifyless…” Thanks a lot, Paul). If that second and third playlist got together and made a baby, it would be made of bits and bytes and the best MP3 genes available… and it would probably sound a whole lot like The Lovers Key. Comprised of Christopher Moll and Maco Monthervil, The Lovers Key combines retro pop-rock instrumentals with soulful vocals. The band’s debut full-length album, Here Today Gone Tomorrow, is due out in early April, and is a must-listen for any fan of Motown or 60s Rock.

As the album title suggests, The Lovers Key attempts to tap into a bygone era with their 60s style. The album’s 11 tracks are primarily driven by fuzzy guitar and upbeat organ arrangements. Throw in Maco’s soulful, jazzy melodies, and you wind up with an album that seems to be made for head bobbing and finger snapping. Depending on the song, Maco’s voice could draw comparisons to nearly every soul singer from the 60s, but for me his voice falls somewhere between Jimmy Ruffin and Billy Stewart.

One of the things I like most about the album is that it’s not overproduced. There’s a very raw and real sound that coincides with the honest lyrics and the two genres (60s rock and Motown) that the album draws from. That rawness seems to express the band’s heart as much as it does this particular style of music. I listened to the album digitally, but the whole time I felt like it should have been playing on vinyl.  If you only listen to one song from the album, I’d recommend “Tell It Like It Is (Don’t Break It To Me Slow).” While this catchy, upbeat track captures the band at their best, “Maybe I’m Not Good Enough,” and “In A Perfect World” are also must-listens.

It’s awesome that this is the band’s debut album. I mean, they’ve only been together since 2012, so if they can manage to avoid the curse of the sophomore album, then it seems like they have a lot of room to grow and become even better, which is pretty exciting for any fan of retro rock and/or Motown. But before we go talking about a follow-up, give this album a listen. Fortunately for us, the Internet has ensured that basically nothing is actually here today and gone tomorrow, so be sure to snag a copy of Here Today Gone Tomorrow and let the music remind you of a time when records ruled and we didn’t have to wonder why The Beatles’ music isn’t on Spotify.

NGHBRS x Vinyl Mag

Posted on by Colby Pines

Propelled into the public eye thanks to their Instagram video for “Hold Up Girl,” NGHBRS plans to bring their energetic Rock & Roll show to SXSW 2014. Hailing from Long Island, these rockers boast a sound that is both punchy, smooth, and melodic. We got the chance to talk with Ian Kenny of NGHBRS about their iconic Instagram video, their 2013 album, Twenty One Rooms, and their beef with vowels.

VM: It seems like you guys have blown up overnight. Does it seem that way to you?

Ian Kenny: Haha, it definitely does not seem that way to us. We have been working hard for about four years and counting, and have endless goals as a band, but we are insanely grateful, and will always be, for our current successes.

VM: What made you guys decide to go with the Instagram medium for your “Hold Up Girl” video?

IK: We wanted to do something completely out of the box and share-worthy.  Instagram is a great platform for being creative and unique, and it is built on the idea of sharing. So, with that being so readily available, it was easy to conceptualize the video.  The hard part was actually doing all of the work.

VM: You guys basically posted the coolest selfie ever. How does it feel to be the Kings of Instagram Rock & Roll?

IK: It feels great to have our mark on the rock, social media duo.  We could not be more proud of our release.

VM: Ever had any good app ideas? I promise I won’t Zuckerberg you…

IK: Haha, we actually have a running app idea list on our white board in our practice studio.  One of our favorites is Find-A-Sh*tter (Yelp for public bathrooms), We were pretty stoked on that one – would be great for touring bands.

VM: I saw on FUSE that you guys recorded Twenty One Rooms in an old mansion that William Cullen Bryant (the late American poet and journalist) used to live in. How do you feel like that environment helped shape the record’s sound?

IK: The mansion was the life force of Twenty One Rooms, and I believe it would sound completely different recorded anywhere else.  We had such a beautiful and life changing experience living in that house and on those grounds, it was definitely the fifth member of the band on that record.

VM: Do you have a favorite song from the album? Favorite to play live?

IK: Twenty One Rooms is both my favorite song on the record and to play live.  It is such a vibey tune, and I believe it says a lot about the barebones of the NGHBRS sound.  Emotively, it really transports me to a special place every time were playing the bridge.

VM: The album has a really pure Rock & Roll sound. Who in the band is the most Rock & Roll?

IK: One hundred percent Tommy Fleischmann is the most Rock & Roll NGHBRS member.  The dude has so much talent, has not let technology dilute his brain, and sometimes he wears cut off sleeve shirts. That’s ROCK.

VM: You guys are from Long Island. Do you feel like New York has influenced you as musicians; if so, how?

IK: Completely; living so close to a melting pot of music and the most toured-through city in the world has given us the chance to see so many incredible bands live.  As well as growing up in such a historically praised place for alternative music, like Long Island, really has shaped our sound and influences.

VM: If you could play a show with any rock band past or present, who would it be?

IK: I’m going to be specific here and just say Nirvana, 1992.

VM: What did vowels ever do to you guys? Or what favors did consonants do?

IK: Vowels aren’t not for everybody; we like to trim the fat.

VM: You guys are playing at SXSW 2014. What are you most looking forward to about the festival?

IK: Just the ability to see so many awesome bands working hard and playing hard in one place is going to be awesome.  We’re stoked to play four showcases and show Austin how we roll. We definitely intend on leaving our mark this year.

VM: Do you think this will be the coolest place you’ve yet to play? Or do you have a particular venue from the past that holds the number one spot in your hearts?

IK: I’d say nothing really beats playing Irving Plaza.  We played to a sold out room, and it was our seventh show as a band.  In the moment, we knew we were doing something special.

VM: Any chance there will be a Twitter-themed sequel to “Hold Up Girl?”

IK: Haha, definitely not.  We definitely are not going to put out the same thing twice.  All I have to say is be prepared for the next one; it’s going to be insane.

SXSW Showcases: 

TUES. MARCH 11TH –

9 PM – Third String Productions Showcase – The Aquarium – 403 E 6th St.WED. MARCH

WED. MARCH 12TH –

5PM – Red Gorilla Showcase– Bourbon Girl (The Alex And Ani Stage) – 212 E. 6TH STREETTHURS. MARCH

THURS. MARCH 13th –

5:25PM –  Set.FM Showcase @ Hyde Park Bar and Grill – 4206 Duval St.

FRI. MARCH 14TH –

TBD – Charlie Says Fest @ 2336 E Cesar Chavez St.

FRI. MARCH 14th –

4:40pm – Big Picture Media Showcase @ Blind Pig Rooftop – 317 E. 6th St.